Lara Pulver Quotes

Tom Hooper had done 'John Adams,' and David Lynch did 'Twin Peaks.' I figured I could do eight hours of television, and I wanted to.

I was opposed to doing TV for a long time because I thought the quality of writing wasn't very strong, as opposed to film, but there's been a shift in term of the quality of scripts. HBO has attracted a tremendous amount of great writing talent.

I always wanted to work with David Milch.

When I was a staff writer on 'NYPD Blue,' it was truly my job to hear David Milch's voice for that show and to deliver episodes that embodied that voice.

I think that because television is shot on a really fast schedule, and it gets piped into your home on a smaller screen, it's much more about character and dialogue in a lot of cases than the movies are.

I've met Shonda Rhimes a few times, and certainly she's an inspiration for me in television.

I've continued to write fiction since being in television. TV is a different kind of writing, but it's all writing. It was David Milch of 'Deadwood' who helped me to see it that way. We later collaborated on the short-lived 'John from Cincinnati,' but I'm very proud of the work we did together.

With TV, you're in people's houses every night. And you have so much time to tell stories. I don't know why I didn't do it before.

Marshall Herskovitz and Edward Zwick really changed the way one-hour television looked and the depth of how deep it could cut emotionally.

I'll always love movies. But there's something I love very much about TV, when you shoot episodes while other episodes are still being written.

I was full time on 'Party of Five' for one year, then more like a creative consultant for two years, where I was in the writing rotation but didn't have to go in every day or cover the set until midnight.

The highest-caliber dramatic work produced for TV - not just in cable but something like 'The Good Wife' at network - is consistently great.

In television writing, even if you're running the writers room, it's a writers room.

Every time I hear about a new show, and I see a show that is being created that is nothing like I've ever thought about, I just get so excited about that expansion. Because I started working when 'L.A. Law' was on. It was lawyers and cops.

With film, there's a consistency to it, but what I like about the TV shows that I've been fortunate to do, like 'Friday Night Lights' and 'True Blood,' is that it feels like you're doing a film.

More and more, you're seeing television shows that are better than 99% of the movies out there. I mean, you watch something like the last couple of seasons of 'The Sopranos,' which is some of the most sophisticated writing I've ever seen filmed and some of the best filmmaking I've ever seen - and it's a TV show.

The first TV show I worked on was with the guys from 'Little Britian,' Matt Lucas and David Walliams, who did a show in 1995 I directed, 'Mash and Peas.'

I did 'The Commish' and an episode of 'Neon Rider,' and then I got the series called 'Street Justice,' which I ended up doing about 18 episodes of.

In the world of book writing, there's a few people, maybe, where you have close relationships. In TV, there are so many more relationships, and they're all so critical.

In television, the 60-minute series, 'The Wire' and 'Mad Men' and so on, the writer is the primary creative artist.

I'm not a Larry David. I don't have a 'Curb Your Enthusiasm' and a 'Seinfeld' in me.

I had the wonderful good luck of having Jimmy Gandolfini as my mentor and David Chase as my godfather, two of the most talented guys in the history of television.

I wanted to do screenwriting. That's what I went to school for, but my major was overfilled, and when I got 'The Daily Show', I was a semester away from officially starting my major, so I never started that in particular.

I learned how to write TV by writing 'Grey's Anatomy.'

It's not the love affair I have with film, but television can be a playground for interesting ideas.